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Waits, Tom - Big Time
(Island 90987-1 US-88 EX 300:-)

Thomas Alan Waits is a neo-beatnik songwriter who grew weirder and wilder in the '80s, earning a cult following that only grew larger as the years passed.

"Big Time" is a live album with material drawn mostly from Waits' trio of recent studio albums. Waits' performances tended to be somewhat over the top on the studio versions of these songs, but before a live audience his theatrics seem more appropriate, and he even includes a mini-set of piano ballads.
Waits, Tom - Swordfishtrombones
(Island ILPM-9762 UK-87 VG+ 275:-)

One of best ever albums by Tom Waits – the beginning of his gutbuckety, Americana Carnivalesque era of dreamlike sinister romance and lovelorn surrealism! The tin pan piano ballads and get pushed a bit to the wayside for Tom's more mysterious and poetic side, and this begins one of the great second acts in pop/rock history.

This copy has been signed by Waits on the front in ballpoint.
Waters, Roger - The Wall (Live in Berlin)
(Mercury 846611-1 Hol-90 VG+ 300:-)

Co-founder and longtime member of Pink Floyd, Roger Waters guided the band creatively during the 1970s and experimented with a solo career afterwards.

Nobody really expected the Berlin Wall to come down in 1989, and so suddenly. Roger Waters especially, because he had once made a promise never to perform "The Wall" again after the 1980 tour until the bricks fell in Berlin. But they did, and Waters had no intention to renege on his promise. "The Wall" became a star-studded megaconcert to benefit the Memorial Fund for Disaster Relief, with larger bricks, bigger inflatable puppets, and a larger audience than any of the original Pink Floyd shows.
Velvet Underground - Everything You've ever Heard
(VU Records VU-333 UK-82 EX 400:-)

Few rock groups can claim to have broken so much new territory, and maintain such consistent brilliance on record, as the Velvet Underground during their brief lifespan. During their time, the group experienced little commercial success; though they were hugely appreciated by a cult audience and some critics, the larger public treated them with indifference or, occasionally, scorn. The Velvets' music was too important to languish in obscurity, though; their cult only grew larger and larger in the years following their demise, and continued to mushroom through the years.

30-track triple vinyl LP box set, housed in a textured picture box featuring a yellow banana image on the front plus tracklisting insert.
Whitesnake - Good to be Bad
(Steamhammer SPV-98131 Ger-08 VG+ 800:-)

Whitesnake started out as a hard rock band that boiled down to Led Zeppelin-meets-Free basically, yet enjoyed success in the late 1970s, due in part to the fact that the band was led by former Deep Purple replacement vocalist/Robert Plant clone David Coverdale. By 1984, Coverdale and company had carved out something of their own identity, setting themselves apart from the pack of hard rock/metal bands by taking tried and true "snake = penis" imagery to unheard of extremes.

"Good To Be Bad" is a masterpiece consisting of twelve songs that contain all the important Whitesnake trademarks as well as a fresh breeze courtesy of Coverdale's fantastic voice and current line-up. This is pure and unadulterated Whitesnake, a classy recording that really doesn't require a more detailed description.
Who - Tommy: Live at the Royal Albert Hall
(Eagle EAGLP681 EU-17 EX 300:-)

More than any band before them, the Who transformed Rock 'n Roll into the weapon of choice for the generation gap struggles of the 1960s. Playing up tensions between young and old, this combativeness quickly became the band's hallmark. Roger Daltrey's perilous mic-swinging, Pete Townshend's ill-tempered guitar-smashing, and Keith Moon's "gonzo" drumming all bolstered the band's thuggish, working-class youth image - and suggested it was more than image.

In this 100th show in support of the Teenage Cancer Trust, The Who performed their nearly 50 year old landmark rock opera "Tommy" in its entirety along with a second set of 7 greatest hits at London's historic Royal Albert Hall.
Who - Who's Next?
(Track 2408-102 UK-71 VG+ 500:-)

Much of "Who's Next" derives from "Lifehouse", an ambitious sci-fi rock opera Pete Townshend abandoned after suffering a nervous breakdown, caused in part from working on the sequel to "Tommy". There's no discernable theme behind these songs, yet this album is stronger than "Tommy", falling just behind "Who Sell Out" as the finest record the Who ever cut. Townshend developed an infatuation with synthesizers during the recording of the album, and they're all over this album, adding texture where needed and amplifying the force, which is already at a fever pitch.

UK pressing with "A1/B3" matrix and "Bilbo" in run-off.
Villagers - Live at the Workman's Club
(Domino WIGLP273 UK-11 EX 275:-)

Villagers are an Irish indie folk band from Dublin, formed in 2008, after singer Conor O'Brien's break-up of his previous band The Immediate.

Villagers’ night at the Workman’s Club was as much celebration as a gig. Throughout the hour long performance, Conor’s voice ranges from the intimate tones of a friend confiding in you on tracks like ‘27 Strangers’ and ‘The Pact’ to the soaring, almost rapture-like intensity on ‘Pieces’ and ‘Home’.

Exclusive Record Store Day 2011 release.
Wilson, Deirdre - Dierdre Wilson Tabac
(RCA Victor LSP-4283 US-70 VG+ 400:-)

A beautiful bit of funky rocking soul – and the one and only album by the Deirdre Wilson Tabac – a group whose name is as strange as their grooves are funky! The group are best known for their well-compiled track "I Can't Keep From Cryin Sometimes" – an uptempo jazzy gem that mixes skipping Hammond with soaring vocals and some really great horns – and the rest of this set has a very similar feel – one that blends jazz rock with more soulful vocals, in a groove that's totally unique! Sonny Casella wrote, arranged, and produced the record – and he's also the drummer in the group, so there's keen attention to rhythms on all tracks.

Original US pressing.